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UID:2020@backend.prikbord.page
SUMMARY:V2_ Live: Overture
DTSTAMP:20261023T071403Z
DTSTART:20261030T190000Z
DTEND:20261030T220000Z
DESCRIPTION: 30 October 2026\, 20:00–23:00\n\n v2_\n\n️ Tickets / Registr
	ation\n[https://v2unstable.stager.co/shop/default/events/111708463]\n\n 3
	0 October 2026\, 20:00–23:00\n\n v2_\n\n️ Tickets / Registration\n[https:
	//v2unstable.stager.co/shop/default/events/111708463]\n\nV2_ Live: Overtur
	e brings together three performances exploring sound\,\nuncertainty\, and 
	the limits of control. Electromagnetic strings play themselves\,\nmodular 
	systems probe the space between worlds\, and an orchestra of machine guns\
	nis conducted inside a computer game.\n\nAcross these works\, music emerge
	s from unstable processes\, unexpected\nencounters\, and explosive rhythms
	. Each performance leaves room for what cannot\nbe fully anticipated or di
	rected.\n\nOn the night before the dead return\, V2_ Live presents an over
	ture to the\nunknown – and everything that follows.\n\nPuck Wacki & Rotor 
	 — In Resonance\n\nFor this collaboration\, Puck Wacki plays a section of 
	their installation In\nResonance as a live instrument\, while Rotor proces
	ses and distributes its sound\nthroughout the space.\n\nWacki’s instrument
	 consists of seven steel strings\, each five metres long\, set\ninto motio
	n by electromagnets. Left slack\, their tuning drifts with temperature\nan
	d movement\, generating an ever-changing field of drones and overtones.\nM
	agnetic pickups capture these vibrations\, which form the source material 
	for\nthe performance. Through digital and analogue processing\, Rotor tran
	sforms the\nstrings’ resonances into dense layers of sound\, drawing out s
	ubtle fluctuations\nand amplifying the interactions between frequencies. D
	istributed across the\nspeaker system\, these layers overlap and move thro
	ugh the space. The rotating\nspeakers introduce physical movement into thi
	s process\, continually changing the\ndirection of the sound and how it re
	aches the audience. The performance unfolds\nthrough the interplay between
	 Wacki’s interventions on the strings\, their\nunpredictable behaviour\, a
	nd Rotor’s live processing\, which focuses on the\nspatialisation of sound
	. Moving between sustained tones\, subtle variations and\nthick accumulati
	ons of sound\, the collaboration explores what happens when an\ninstrument
	’s own behaviour becomes an active part of a shared live composition.\n\nM
	artin Howse — Orphans and Voids\nOrphans and voids is a headless divinatio
	n for obscure modular assemblages\,\nscattered concrete modules\, printed 
	circuit incense clocks\, micro-pulsed lasers\,\nand ill-programmed neurons
	. Drawing on Chinese cosmological systems — the gap\nbetween the Ten Stems
	 and Twelve Branches\, the mysterious hole where two worlds\nmeet only in 
	a nowhere — Howse conjures an environment of smoke\, light and noise\nthat
	 exists precisely at the threshold between order and dissolution.\n\nVLKSF
	ST Orkest — Symphony of Sirens \nVLKSFST Orkest continues their series of 
	re-enactments of significant 20th\ncentury compositions with a reimagining
	 of Arseny Avraamov’s seminal industrial\nmusic piece Symphony of Sirens (
	1922) as a Garry’s Mod server. The work reflects\non the “fog of war” both
	 literally and metaphorically. Avraamov’s Symphony was\nchosen as the conc
	eptual ursprung because of its connection to fog of war in a\nliteral sens
	e\; every performance of the piece had ended in disaster\; in Baku\,\nthe 
	artillery was shot to soon\, covering the ground with so much smoke that\n
	documenting the piece was not possible\, in Moscow it was played in such a
	 large\narea that the artillery smoke made it impossible for the performer
	s to see each\nother. Staying true to the symphony’s open but site-specifi
	c format\, this\nre-enactment moves the composition to a video game server
	. An orchestra of bots\nfire an amount of bullets that Avraamov could only
	 dream of\, inline with the\nmilitary excess plaguing the world.\n\n\nABOU
	T\n\nV2_ Live is a public program dedicated to experimental sound performa
	nces.\nLaunched in 2025\, it features works developed through the V2_Live 
	Residencies\,\nwhich give artists space to explore experimental audiovisua
	l performance ideas\,\nwith a strong emphasis on developing their own perf
	ormance set-up.\n\n\nPRACTICAL\n\nEntrance: € 5\n\nTickets: https://v2unst
	able.stager.co/shop/default/events/111708463\n[https://v2unstable.stager.c
	o/shop/default/events/111708463]\nDoors open: 20:00h\nConcert starts at 20
	:30h\n\n 
URL:https://backend.prikbord.page/event/v2_-live-overture
LOCATION:v2_ - v2_
STATUS:CONFIRMED
CATEGORIES:2026,halloween,v2Live,zombies,audiovisual
X-ALT-DESC;FMTTYPE=text/html:<p> <strong>30 October 2026, 20:00–23:00</str
	ong></p><br><p> v2_</p><br><p>️ <a href="https://v2unstable.stager.co/sho
	p/default/events/111708463">Tickets / Registration</a></p><p> <strong>30 
	October 2026, 20:00–23:00</strong></p><br><p> v2_</p><br><p>️ <a href="ht
	tps://v2unstable.stager.co/shop/default/events/111708463">Tickets / Regist
	ration</a></p><p><strong>V2_ Live: Overture</strong> brings together three
	 performances exploring sound, uncertainty, and the limits of control. Ele
	ctromagnetic strings play themselves, modular systems probe the space betw
	een worlds, and an orchestra of machine guns is conducted inside a compute
	r game.</p><p>Across these works, music emerges from unstable processes, u
	nexpected encounters, and explosive rhythms. Each performance leaves room 
	for what cannot be fully anticipated or directed.</p><p>On the night befor
	e the dead return, V2_ Live presents an overture to the unknown – and ever
	ything that follows.</p><p><strong>Puck Wacki &amp; Rotor&nbsp; — <em>In R
	esonance</em></strong></p><p>For this collaboration, Puck Wacki plays a se
	ction of their installation&nbsp;<em>In Resonance</em>&nbsp;as a live inst
	rument, while Rotor processes and distributes its sound throughout the spa
	ce.</p><p>Wacki’s instrument consists of seven steel strings, each five me
	tres long, set into motion by electromagnets. Left slack, their tuning dri
	fts with temperature and movement, generating an ever-changing field of dr
	ones and overtones. Magnetic pickups capture these vibrations, which form 
	the source material for the performance. Through digital and analogue proc
	essing, Rotor transforms the strings’ resonances into dense layers of soun
	d, drawing out subtle fluctuations and amplifying the interactions between
	 frequencies. Distributed across the speaker system, these layers overlap 
	and move through the space. The rotating speakers introduce physical movem
	ent into this process, continually changing the direction of the sound and
	 how it reaches the audience. The performance unfolds through the interpla
	y between Wacki’s interventions on the strings, their unpredictable behavi
	our, and Rotor’s live processing, which focuses on the spatialisation of s
	ound. Moving between sustained tones, subtle variations and thick accumula
	tions of sound, the collaboration explores what happens when an instrument
	’s own behaviour becomes an active part of a shared live composition.</p><
	p><strong>Martin Howse — <em>Orphans and Voids</em></strong><br><br>Orphan
	s and voids is a headless divination for obscure modular assemblages, scat
	tered concrete modules, printed circuit incense clocks, micro-pulsed laser
	s, and ill-programmed neurons. Drawing on Chinese cosmological systems — t
	he gap between the Ten Stems and Twelve Branches, the mysterious hole wher
	e two worlds meet only in a nowhere — Howse conjures an environment of smo
	ke, light and noise that exists precisely at the threshold between order a
	nd dissolution.</p><p><strong>VLKSFST Orkest — <em>Symphony of Sirens</em>
	&nbsp;</strong><br><br>VLKSFST Orkest continues their series of re-enactme
	nts of significant 20th century compositions with a reimagining of Arseny 
	Avraamov’s seminal industrial music piece <em>Symphony of Sirens</em> (192
	2) as a Garry’s Mod server. The work reflects on the “fog of war” both lit
	erally and metaphorically. Avraamov’s Symphony was chosen as the conceptua
	l ursprung because of its connection to fog of war in a literal sense; eve
	ry performance of the piece had ended in disaster; in Baku, the artillery 
	was shot to soon, covering the ground with so much smoke that documenting 
	the piece was not possible, in Moscow it was played in such a large area t
	hat the artillery smoke made it impossible for the performers to see each 
	other. Staying true to the symphony’s open but site-specific format, this 
	re-enactment moves the composition to a video game server. An orchestra of
	 bots fire an amount of bullets that Avraamov could only dream of, inline 
	with the military excess plaguing the world.</p><h2>About</h2><p>V2_ Live 
	is a public program dedicated to experimental sound performances. Launched
	 in 2025, it features works developed through the V2_Live Residencies, whi
	ch give artists space to explore experimental audiovisual performance idea
	s, with a strong emphasis on developing their own performance set-up.</p><
	h2>Practical</h2><p>Entrance: € 5</p><p>Tickets: <a href="https://v2unstab
	le.stager.co/shop/default/events/111708463">https://v2unstable.stager.co/s
	hop/default/events/111708463</a><br><br>Doors open: 20:00h<br><br>Concert 
	starts at 20:30h</p><p>&nbsp;</p>
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DESCRIPTION:V2_ Live: Overture
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